Escapist ending (Dil Apna Aur Preet Parai)

Not fair. I'm not convinced with the climax of Kishore Sahu's Dil Apna Aur Preet Parai. This 1960 triangular love story (produced by Kamal Amrohi) finishes in a rather tame fashion. Without any procrastination, the director conveniently bumps off the wife so that the sweethearts can continue their life in bliss! So, does Sahu mean to say that it is absolutely normal to harbour romantic thoughts for a woman who is not your wife? That ignoring your wife can never be too bad? This romantic drama is not devoid of flaws...

Dr Sushil Verma is an idealistic surgeon working at Malhotra Hospital. After a certain spectacular surgery he notices the new nurse Karuna and is struck by her beauty. He starts getting close to her with his soft words and amiable ways. Karuna also visits his home and gets acquainted with his family (mother and sister). The two are quite attracted to each other and revel in each other's adoration-filled glances. Karuna takes immense pleasure in the thought that some day she will be Mrs Sushil Verma. But, (and God only knows why) the two never propose to each other. I believe one must profess his love without waste of time. Let courtship take a backseat when your mother is nagging you every single day to get married somewhere else...
So Sushil's mother forces her son to marry Kusum because she is indebted to her father for helping her bring up Sushil and Munni, her daughter. Kusum's father has even paid up for Sushil's medical education. Sushil, crumbling under pressure, unwillingly marries Kusum but is never able to love her. It is true that Kusum is vain and carries a stiff upper lip. But, I have to admit; even Sushil is never shown cosying up to Kusum or even trying to understand her. How will he? When he is busy fantasising about the enigmatic Karuna, who also happens to be more sensitive and pleasing in personality. Well, there is also a kind of tragic air about her. In the first scene she relates her personal family tragedies to Dr Malhotra (proving that she can well handle her grief!). When she is not wearing her nurse's uniform, she is wearing white saris. For God sake, why? Simplicity needn't be so stark. I'd prefer that Karuna spoke up to Sushil and didn't take matters lying down...
With a priviledged upbringing, Kusum is spoilt and stubborn. She makes Sushil's simple life go a bit awry. She is busy indulging in costly furniture, much to the dislike of her idealistic doctor-husband and is brusque towards her mother and sister-in law. But the main bone of contention is Sushil's profession. Kusum despises his trade (her instant irritation at the smell of medicines on entering her new home is symptomatic of the clash of ideals strewn ahead) and keeps complaining that Sushil is not spending enough time with her. Understandable. She is the new bride and would love her husband's love and attention. Sushil tries to keep her happy but whenever they are catching up, the phone rings. And, incidentally it is always Karuna who is calling!! Which sane woman wouldn't get incensed?
There is more cause for concern when Kusum sees her husband and Karuna playing sweethearts in a play. Initially everything's fine. But, when Sushil's plain expressions transforms into passionate glares towards the angelic Karuna, Kusum's suspicion is piqued. Actually the two actors get a bit too intimate (in their glances towards each other) for Kusum's comfort. I give it to Kusum for smelling that something's fishy. After all, she is intelligent and she is hurt. One might say that Kusum never was tender towards Sushil. Wrong. She tried to suck up to her (boring) husband in her own way. But, Sushil's mind was filled with Karuna's thoughts from the beginning. He never gave Kusum even one chance. Sushil could not be true to Karuna when he married Kusum and he was cheating on Kusum when he just couldn't manage to move on from Karuna. Very difficult situations, indeed!
Kusum gets overtly possessive about Sushil and impulsively is instrumental in his patient's death. He seethes with anger and strikes her. Tempers flare as Kusum confronts Sushil about his relation with Karuna. The best Sushil can do is walk away after covering his face. Not convincing...
Kusum leaves for her father's home, leaving enough space for the two sweethearts to realise their passionate love for each other.
Here I would like to say that though Sushil is kind of milquetoasty, Karuna maintains her dignity. Realising that she loves this married man, she starts avoiding him. But, fate has other things in store, something that you can find out yourself...

Sushil's mother, after being subjected to Kusum's extreme mood swings, realises that Karuna would have been a better daughter-in-law. Even Munni blurts it out to her brother. Perhaps, the director was trying to show how humans are mere playthings in the hands of fate...
However, the film has its bright moments. Like, when Karuna sees Sushil's face for the first time. You can almost see her eyes shining. Meena Kumari is a pro when it comes to emoting with her eyes. The following scene when Sushil sees Karuna and can't help but asking her who she is, you can see struck he is by her beauty. Though I'm not fond of Raaj Kumar as in this film (he was awesome in Pakeezah and Waqt), I liked him in this scene. He has a sharp face and it lights up seeing the beautiful woman. And, then there's the scene where Karuna stitches his button. Sensitive, tender and smile-inducing.
Then there are the songs. Complete jewels from Shankar Jaikishan (he won a Filmfare for the score). Every song is special. But, the best perhaps are Ajeeb dastaan hain ye, Andaz mera mastana, Mera dil ab tera o saajna, Itni badi mehfil ek dil (picturised on the pretty Helen) and the title track. Apart from the wonderful voices of Lata Mangeshkar and Asha Bhonsle, the songs stand out for their picturisation. While the title track signifies the storm in Karuna's heart and the pain she is afflicted by, she is inexplicably bouncy in Mera dil ab tera, a dream sequence. She looks lovely and is nimble-footed. Only if Raaj Kumar had not shaken his legs. He looks really foolish doing that!
Then there's Andaz mera mastana, the play song. Kumari is again looking like a gorgeous princess (and lo! she is dancing wearing a pair of killer heels!). It is only natural that Kusum will be instigated to suspect her husband after this song. Karuna and Sushil's expressions belie their passion for each other. The song is almost signifying what could have been...
The supporting cast is quite good too. Especially Om Prakash with his endearing talkativeness despite his cancerous pain.
But, I was astonished by Nadira's spunk (she resembles Urmila, a dear friend of mine). Extremely stylish, Nadira, in her grey tones, brings attitude in the film. She carries her clothes with elan (that skin-coloured blouse with a black chiffon saree, that sleeveless black blouse). In her harsh behaviour you can sense the desperation she feels being alienated from her husband. And, it is her insecurity and anger that drives her to kill herself. But, the firebrand that she is, she doesn't rest at that. She is out to destroy the happiness of all those who did not let her be happy. Highstrung, but honest...
Nadira obliterated so suddenly did not sit well with me. (Honey Irani's Armaan, a remake of this film ends in a different way). Especially when Raaj Kumar is hardly worth one's life. Meena Kumari, as always, is more than happy to sacrifice her happiness. So, maybe, Nadira could free herself from Kumar's ties and settle down with a much more exciting man!!! Then, she would be happy, and these two would be satisfied, too!! How does that sound, Mr Sahu?